Paul Naschy’s crazed grimace helps to sell HUNCHBACK OF THE MORGUE.
satisfy their desire for cheap thrills in these releases, which offer a good cross section of genres. The art of how (and how not to) “sell the sizzle, not the steak” (as the great Dave Fried- man put it) allowed not only for sometimes overly creative edit- ing but also invigorating and occasionally hilarious ballyhoo from voiceover masters like Paul Frees, Adolph Caesar and Ron Gans.
Each dual layer disc includes 55 trailers and the anamorphic presentations naturally vary in quality, with an occasional TV spot ringer or prevue lifted from a low quality video source. How- ever, for the most part, the video and audio quality are quite acceptable. A few of the trailers have been recreated us- ing footage from better sources, with new editing matching the original trailer cutting beat for beat. The original superim- posed titles from the prevues are either added with video generated replicas or briefly cut in from the lesser source. Purists may be unhappy, but we were not distracted for the most part and this alternate form of presentation allowed for some spots to finally be
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seen at their proper scope ra- tios (MASTER OF THE FLYING GUILLOTINE) or for the first time in decent quality (CAGED VIRGINS). Many of the spots appear on previously released compilations and others are included on the particular DVD releases of that title, but the GRINDHOUSE TRAILER CLASSICS discs work in a few we do not recall seeing on any medium, like PANAMA RED, an attempt by porn director Bob Chinn of JOHNNY WADD infamy to crack the mainstream market with a PG-rated adventure.
Standouts on the first set include the incredible rapping narration for DR. BLACK MR. HYDE (“A monster he could not control had taken over his very soul! A screamin’ demon rages inside turning him into Mr. Hyde!”); the extra zesty and exploitative pushes US distributor Joseph Brenner gave to Italian pick-ups EYE- BALL, TORSO and AUTOPSY; the terrific action-oriented spot for THEY CALL HER ONE EYE (the US release of Bo Arne Vibenius’ THRILLER); the strangely elegiac narration for the grotty made-in-Kentucky Ed Gein variation THREE ON A MEATHOOK; the desperate yet also masterful editing that turns portly comic Rudy Ray Moore into a kung fu master known as THE HUMAN TORNADO; and what seems to be every single solitary frame of carnage from DOCTOR BUTCHER M.D. GTC 2 offers Lee Frost’s out- rageous actioner THE BLACK GESTAPO (“When they de- clare war, it’s all
out...all the way out!”); Cinemation’s wild come-on for HUNCHBACK OF THE MORGUE (with the full tilt Paul Naschy craziness made even more delirious via the
The chant that will ease you through any viewing of Wes Craven’s original LAST HOUSE ON THE LEFT.
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